“Look What’s Happened to Rosemary’s Baby” is not a hidden gem, but it is an entertaining curiosity in an “I can’t believe they actually made this” kind of way.

“All Hallows’ Eve” is not the type of middling distraction that one regrets spending time with, but it is the sort of experience that leaves the viewer with a stomach rumbling for something more satisfying.

 “After Effect” has some notable performances, a creepily effective musical score, and good production value on a small budget.  Unfortunately, it also has limited tension, erratic pacing, and an unsatisfying payoff that keep it from shining as a solid example of body horror or zombie suspense.

I cannot fathom a scenario where any viewer would consider investing even one minute in “4 Dead Girls” as time well spent.

Somewhere between “The Cabal Cut” and the theatrical version exists an edition of the film that excels even further.  The filmmakers just need their Narcisse to provide final directions on how to get there.

Not without redeemable charms, “Nightbreed” is far too bloated by its own ambition to have ever had a chance of succeeding with compromised creativity or with an abbreviated runtime.

“Amy” is the kind of bad produced by misguided filmmakers that just do not know any better. And sadly, the only emotion “Amy” evokes from the audience is head shaking sympathy for everyone involved.

Although four of the five segments have noticeable flaws that lead to underwhelming moments, there are enough interesting story ideas and creative choices on hand to make the package enjoyable.

“Hallows’ Eve” fancies itself as a horror whodunit, but there is no redeeming quality in the production that would make anyone care about the outcome.

“Shiver” plays like a two-part episode of “Criminal Minds,” except with a largely forgettable unsub being chased by Casper Van Dien in place of Mandy Patinkin.

It may not be the definitive look at Romero’s legendary movie, but “Birth of the Living” is a documentary that knows the difference between artful reflection and pointless nostalgia.

As “Haunter” melts from one sub-genre to another, jump scares give way to eerie tension, which in turn pave the path for visceral shocks of terror.

While the merit of the payoff is up for debate, the fact remains that “Abducted” oozes with compelling takes on themes of kidnapping and medical experimentation fit snugly inside a smartly crafted production.

“Crystal Lake Memories” makes “His Name Was Jason” irrelevant and is critical to understanding the franchise’s timeline and enduring popularity.

Under different conditions, “His Name Was Jason” might be viewed in a more favorable light, but with “Crystal Lake Memories” available as a superior alternative, “His Name Was Jason” is obsolete.

Horror fans more interested in night creatures, bare fangs, and ravenous bloodletting best look elsewhere for vampire-themed frights.

“Gravity” is most effective on viewers prone to claustrophobia, thanks to numerous scenes of depleted oxygen, drowning waters, and threats of depressurization.

Who is to blame for “Unlucky Charms” being a pointless viewing experience?  The person who made it or the person who willingly watched a movie whose defining characteristic is a title that lampoons a breakfast cereal?

“The Black Dahlia Haunting” extends its total runtime by tacking on seven minutes worth of the slowest end credit crawl in movie history.

Even if "Escape from Tomorrow" does not have a real point or a purpose, it is still hypnotically engaging as experimental art and as oddball entertainment.